For the last fifteen years, leading international artist Jean-Pierre Khazem has played a major role in challenging contemporary identity, its definition and its representation.
Through his all-encompassing creativity, he has been using multiple medias to question the figuration of the Self. From photography and sculpture to performance and film, the variety of his work is united by the fundamental issues with which they deal: geographical, bodily, personal existence.
His long-time collaboration with Misi Park has lead him to expand the borders of dream within art itself, and to connect real characters with invented figures.
He ceaselessly questions the construction of our identity through the use of masks; the exposure of the naked body; the disconnection between specific characters and their context.
His work has been exhibited all over the world: in Paris, at Galerie Emmanuel Perrotin; in Stockholm, at Färgfabriken; in New York, at Sperone Westwater Gallery and Deitch Projects; in Tokyo.
It is included in numerous collections, such as the Rubell Family Collection, in Miami.
His collaborations outside of the art world include: a video clip for Björk; stories for leading international publications such as W Magazine; The Face; Esquire.
Misi Park has exhibited in 2 group shows, "Histoires Parallèles", at the Institut Neerlandais Paris, November 2004; and 'Confrontation' at FOAM, Amsterdam, February 2005.
A long standing collaborator of Jean Pierre Khazem, Misi borrows some of the theatrical devices and emotional architecture of Khazem's work, and make them her own. Each series of work is a story, a journey through a physical and psychical (metaphysical) landscape; each image operates as a movie still or a frame from a picture comic strip. Silent and still, dreamlike if not surreal, Misi's narratives avoid linear structure, offering no obvious beginning or end, no comfortable resolutions.
Misi uses the device of a life size doll of a young girl, which we can read as a self portrait, enabling the artist to be simultaneously behind and in front of the camera. The work derives much of its power and tension by placing the doll/child in vulnerable situations - dark mysterious forests, city streets and cafes late at night - but always alone. It captures those childhood feelings and memories, that emerging sense, both exiting and frightening, that the world is inconceivably larger and more complex than the familiar. Misi reminds us that, despite all the trappings of age and experience, despite all the shields of duty and responsibility, we are no less vulnerable when confronting the unknown and unknowable than as children.